Let me show you how to dance
Beyoncé: 4: Lyrics:
Love On Top
BA BA BADA (X7)
BRING THE BEAT IN
HONEY HONEY, I CAN SEE THE STARS ALL THE WAY FROM HERE CAN'T YOU SEE THE GLOW ON THE WINDOW PANE I CAN FEEL THE SUN WHENEVER YOU'RE NEAR EVERY TIME YOU TOUCH ME I JUST MELT AWAY
NOW EVERYBODY ASKS ME WHY I'M SMILING OUT FROM EAR TO EAR THEY SAY LOVE HURTS BUT I KNOW, IT'S GONNA' TAKE A LITTLE WORK OHH, NOTHING'S PERFECT, BUT IT'S WORTH IT AFTER FIGHTIN' THROUGH MY TEARS_AND FINALLY YOU PUT ME FIRST
BABY IT'S YOU YOU'RE THE ONE I LOVE YOU'RE THE ONE I NEED YOU'RE THE ONLY ONE I SEE
COME ON BABY IT'S YOU YOU'RE THE ONE THAT GIVES YOUR ALL YOU'RE THE ONE I CAN ALWAYS CALL WHEN I NEED YOU MAKE EVERYTHING STOP FINALLY, YOU PUT MY LOVE ON TOP
OHHH, COME ON BABY YOU PUT MY LOVE ON TOP, TOP, TOP, TOP, TOP YOU PUT MY LOVE ON TOP OHH OHHH, COME ON BABY YOU PUT MY LOVE TOP, TOP, TOP, TOP, TOP PUT MY LOVE ON TOP, PUT MY LOVE ON TOP
BABY BABY I CAN HEAR THE WIND WHIPPING PAST MY FACE AS WE DANCE THE NIGHT AWAY BOY YOUR LIPS TASTE LIKE A NIGHT OF CHAMPAGNE AS I KISS YOU AGAIN AND AGAIN AND AGAIN AND AGAIN
NOW EVERYBODY ASKS ME WHY I'M SMILING OUT FROM EAR TO EAR THEY SAY LOVE HURTS BUT I KNOW, IT'S GONNA TAKE A LITTLE WORK OHHH, NOTHINGS PERFECT, BUT IT'S WORTH IT AFTER FIGHTIN' THROUGH MY TEARS AND FINALLY YOU PUT ME FIRST
BABY IT'S YOU YOU'RE THE ONE I LOVE YOU'RE THE ONE I NEED YOU'RE THE ONLY ONE I SEE
COME ON BABY IT'S YOU YOU'RE THE ONE THAT GIVES YOUR ALL YOU'RE THE ONE THAT I CAN ALWAYS CALL WHEN I NEED TO MAKE EVERYTHING STOP FINALLY, YOU PUT MY LOVE ON TOP
OHHH, BABY YOU PUT MY LOVE ON TOP, TOP, TOP, TOP, TOP YOU PUT MY LOVE ON TOP OHH OHHH, COME ON BABY YOU PUT MY LOVE ON TOP, TOP, TOP, TOP, TOP PUT MY LOVE ON TOP
BABY IT'S YOU YOU'RE THE ONE I LOVE YOU'RE THE ONE I NEED YOU'RE THE ONLY THING I SEE
COME ON BABY IT'S YOU YOU'RE THE ONE THAT GIVES YOUR ALL YOU'RE THE ONE THAT ALWAYS CALLS WHEN I NEED YOU BABY EVERYTHING STOPS FINALLY, YOU PUT MY LOVE ON TOP
BABY YOU'RE THE ONE THAT I LOVE BABY YOU'RE ALL I NEED YOU'RE THE ONLY ONE I SEE COME ON BABY IT'S YOU YOU'RE THE ONE THAT GIVES YOUR ALL YOU'RE THE ONE THAT ALWAYS CALLS WHEN I NEED YOU EVERYTHING STOPS FINALLY, YOU PUT MY LOVE ON TOP
BABY 'CAUSE YOU'RE THE ONE THAT I LOVE BABY YOU'RE THE ONE THAT I NEED YOU'RE THE ONLY MAN I SEE
BABY, BABY IT'S YOU YOU'RE THE ONE THAT GIVES YOUR ALL YOU'RE THE ONE THAT ALWAYS CALLS WHEN I NEED YOU EVERYTHING STOPS FINALLY, YOU PUT MY LOVE ON TOP
BABY 'CAUSE YOU'RE THE ONE THAT I LOVE BABY YOU'RE THE ONE THAT I NEED YOU'RE THE ONLY ONE I SEE
BABY, BABY IT'S YOU YOU'RE THE ONE THAT GIVES YOUR ALL YOU'RE THE ONE THAT ALWAYS CALLS WHEN I NEED YOU EVERYTHING STOPS FINALLY, YOU PUT MY LOVE ON TOP
Party (feat. André 3000)
YOU A BAD GIRL AND YOUR FRIEND’S BAD TOO, OOH
WE GOT THE SWAG SAUCE, SHE DRIPPIN SWAGU YOU A BAD GIRL AND YOUR FRIEND’S BAD TOO, OOH WE GOT THE SWAG SAUCE, SHE DRIPPIN SWAGU OOH
I MAY BE YOUNG, BUT I’M READY TO GIVE YOU ALL MY LOVE I TOLD MY GIRLS YOU CAN GET IT DON’T SLOW IT DOWN, JUST LET IT GO
SO IN LOVE, I’LL GIVE IT ALL AWAY JUST DON’T TELL NOBODY TOMORROW SO TONIGHT, I’LL DO IT EVERY WAY SPEAKERS KNOCKIN’ TILL THE MORNING LIGHT
’CAUSE WE LIKE TO PARTY, AY…. (WE LIKE TO PARTY…)’CAUSE WE LIKE TO PARTY, AY…. (WE LIKE TO PARTY…) ’CAUSE WE LIKE TO PARTY
YOUR TOUCH IS DRIVIN’ ME CRAZY, I CAN’T EXPLAIN THE WAY I FEEL TOP DOWN WITH THE RADIO ON AND THE NIGHT BELONGS TO US JUST HOLD ME CLOSE, DON’T LET ME GO
SO IN LOVE, I DON’T CARE WHAT THEY SAY I DON’T CARE IF THEY TALKIN’ TOMORROW ’CAUSE TONIGHT’S THE NIGHT, OH OH OH OH THAT I’LL GIVE YOU EVERYTHING MUSIC KNOCKIN’ TILL THE MORNING LIGHT ’CAUSE WE LIKE TO PARTY
SET THE SCENE ... 3000 DEGREES I AIN'T WORRIED ’BOUT THEM OVER THERE BUT THEY WORRIED ’BOUT ME I GOTTA HOMEBOY NAMED BUTTER AND ANOTHER HOMEBOY THIS NAMED CHEESE WIT' ME BABY, I'LL MAKE IT MILK TILL IT DRIP DOWN YOUR KNEES SPIT THAT ISH FOR REAL-LO BRAIN BRILLO'D KIDDO SAYS HE LOOKS UP TO ME THIS JUST MAKES ME FEEL OLD NEVER THOUGHT THAT WE COULD BECOME SOMEONE ELSE'S HERO MAN, WE WERE JUST IN THE FOOD COURT EATING OUR GYROS YESTERDAY THAT'S THE WAY EVERY SINGLE MORNING I TRY TO PRAY GRANDMAMMA ’DEM THEY NEVER FORGOT NOTHING ELSE REALLY MEAN NOTHING TO ME I AIN'T STUDDIN' THE BEAT TALKIN' TO ME? GIRL, WHY YOU WIT' ME? MOVE ON AIN'T NUTTIN TO SEE SHHH ALWAYS SUM'N TO SAW I'M THE RAW OF THE RIP ’CAUSE OF HIM ALL OF THEM WILL REMEMBER THE MIN NUTE THEY FELL IN LOVE WITH RAP BLACK LIKE HAVING YO' COUSIN BACK BLUE LIKE WHEN THEY RENT IS DUE CREAM LIKE WHEN I'M LOVIN' YOU, YEEAAH
SO IN LOVE, I’LL GIVE IT ALL AWAY JUST DON’T TELL NOBODY TOMORROW ’CAUSE TONIGHT’S THE NIGHT, OH OH OH OH THAT I’LL GIVE YOU EVERYTHING MUSIC KNOCKIN’ TILL THE MORNING LIGHT ’CAUSE WE LIKE TO PARTY, AY….
(WE LIKE TO PARTY…) ’CAUSE WE LIKE TO PARTY, AY…. (WE LIKE TO PARTY…) ’CAUSE WE LIKE TO PARTY
YOU A BAD GIRL AND YOUR FRIENDS’ BAD TOO, OOH WE GOT THE SWAG SAUCE SHE DRIPPIN SWAGU YOU A BAD GIRL AND YOUR FRIENDS’ BAD TOO, OOH WE GOT THE SWAG SAUCE SHE DRIPPIN SWAGU OOH
Schoolin' Life
THIS IS FOR THEM TWENTY-SOMETHIN’S TIME REALLY MOVES FAST YOU WERE JUST SIXTEEN
THIS IS FOR THEM THIRTY-SOMETHIN’S THAT DIDN’T TURN OUT EXACTLY HOW YOUR MOM AND DAD WANTED YOU TO BE
THIS IS FOR THEM FORTY-SOMETHIN’S WELL RAISE UP YOUR GLASS AND LAUGH LIKE A MUTHA
THIS IS FOR THEM FIFTY-SOMETHIN’S HELL YOU’RE HALFWAY THERE BABY TAKE IT TO THE HEAD
MOM AND DAD TRIED TO HIDE THE WORLD SAID THE WORLD’S JUST TOO BIG FOR A LITTLE GIRL EYES WIDE OPEN, CAN’T YOU SEE I HAD MY FIRST HEELS BY THE AGE OF THIRTEEN
MOM AND DAD TRIED TO HIDE THE BOYS I SWEAR THAT JUST MADE ’EM WANT ME MORE AT FOURTEEN THEY ASKED ME WHAT I WANT TO BE I SAID BABY TWENTY-ONE, SO I GET ME A DRINK
I’M NOT A TEACHER, BABE BUT, I CAN TEACH YOU SOMETHING I’M NOT A PREACHER, BUT WE CAN PRAY IF YOU WANNA AIN’T A DOCTOR, BUT I CAN MAKE YOU FEEL BETTER BUT I’M GREAT AT WRITING PHYSICAL LOVE LETTERS
I’M A FREAK ALL DAY, A-A-ALL NIGHT HOT TOP FLIGHT, BOY YOU’RE OUTTA SIGHT AND I’M CRAZY ALL DAY, A-A-ALL NIGHT WHO NEEDS A DEGREE WHEN YOU’RE SCHOOLIN’ LIFE
OH OH, OH OH, OH-OH OHH OHH OH OH, OH OH, OH-OH OHH OHH SCHOOLIN’ LIFE OH OH, OH OH, OH-OH OHH OHH OH OH, OH OH, OH-OH OHH OHH SCHOOLIN’ LIFE
THIS IS FOR THEM PRETTY-SOMETHIN’S LIVIN IN THE FAST LANE, SEE YOU WHEN YOU CRASH BABE
THIS IS FOR THEM SEXY-SOMETHIN’S
THAT BODY AIN’T GON’ ALWAYS GET YOU OUT OF EVERYTHING
THIS IS FOR THEM BITTER-SOMETHIN’S
STOP LIVIN’ IN REGRET, BABY IT’S NOT OVER YET
THIS IS FOR THEM CHIPPER-SOMETHIN’S THAT’S HIGH ON LIFE, BABY PUT ME ON YOUR FLIGHT
I’M NOT A TEACHER, BABY BUT, I CAN TEACH YOU SOMETHING NOT A PREACHER, BUT WE CAN PRAY IF YOU WANNA AIN’T A DOCTOR, BUT I CAN MAKE YOU FEEL BETTER BUT I’M GREAT AT WRITING PHYSICAL LOVE LETTERS
I’M A FREAK ALL DAY, A-A-ALL NIGHT HOT TOP TIGHT, BOY I’M OUTTA SIGHT AND I’M CRAZY ALL DAY, A-A-ALL NIGHT WHO NEEDS A DEGREE WHEN YOU’RE SCHOOLIN’ LIFE
OH OH, OH OH, OH-OH OHH OHH OH OH, OH OH, OH-OH OHH OHH SCHOOLIN’ LIFE OH OH, OH OH, OH-OH OHH OHH OH OH, OH OH, OH-OH OHH OHH SCHOOLIN’ LIFE
YOU KNOW IT COST TO BE THE BOSS, ONE DAY YOU’LL RUN THE TOWN FOR NOT MAKIN’ LIFE THAT YOU DECIDE BABY PARTY TILL THE FIRE MARSHALL SHUT THIS SUCKA DOWN
I’M NOT A TEACHER, BABY BUT, I CAN TEACH YOU SOMETHING NOT A PREACHER, BUT WE CAN PRAY IF YOU WANNA AIN’T A DOCTOR, BUT I CAN MAKE YOU FEEL BETTER BUT I’M GREAT AT WRITING PHYSICAL LOVE LETTERS
I’M A FREAK ALL DAY, A-A-ALL NIGHT HOT TOP TIGHT, BOY I’M OUTTA SIGHT AND I’M CRAZY ALL DAY, A-A-ALL NIGHT WHO NEEDS A DEGREE WHEN YOU’RE SCHOOLIN’ LIFE
OH OH, OH OH, OH-OH OHH OHH OH OH, OH OH, OH-OH OHH OHH WHO NEEDS A DEGREE WHEN YOU’RE SCHOOLIN’ LIFE OH OH, OH OH, OH-OH OHH OHH OH OH, OH OH, OH-OH OHH OHH WHO NEEDS A DEGREE WHEN YOU’RE SCHOOLIN’ LIFE
THERE’S NOT A REAL WAY TO LIVE THIS, FOR REAL
JUST REMEMBER TO STAY RELENTLESS, OH YEAH, OH YEAH
DON’T STOP RUNNING UNTIL IT’S FINISHED, YEAH YEAH YEAH
IT’S UP TO YOU THE REST IS UNWRITTEN, YEAH, YEAH, YEAH
Countdown
BOY, OHHH KILLING ME SOFTLY AND I’M STILL FALLIN’ STILL THE ONE I NEED I WILL ALWAYS BE WITH YOU
WHOA YOU GOT ME ALL GONE DON’T EVER LET ME GO SAY IT REAL LOUD IF YOU FLY IF YOU LEAVE ME YOU OUTTA YOUR MIND
MY BABY IS A TEN WE DRESSIN’ TO THE NINE HE PICK ME UP WE EIGHT HE MAKE ME FEEL SO LUCKY SEVEN HE KISS ME IN HIS SIX WE BE MAKIN’ LOVE IN FIVE STILL THE ONE I DO THIS FOUR I’M TRYING TO MAKE US THREE FROM THA TWO HE’S STILL THE ONE
THERE’S UPS AND DOWNS IN THIS LOVE GOT A LOT TO LEARN IN THIS LOVE THROUGH THE GOOD AND THE BAD STILL GOT LOVE DEDICATED TO THE ONE I LOVE, HEY
STILL LOVE THE WAY HE TALKS STILL LOVE THE WAY I SANG STILL LOVE THE WAY HE ROCK THEM BLACK DIAMONDS IN THAT CHAIN STILL ALL UP ON EACH OTHER, AIN’T A DAMN THING CHANGED MY GIRLS CAN’T TELL ME NOTHING I’M A GONE IN THE BRAIN I’M ALL UP UNDER HIM LIKE IT’S COLD, WINTER TIME ALL UP IN THE KITCHEN IN MY HEELS, DINNER TIME DO WHATEVER THAT IT TAKES, YOU GOTTA WIN HIS MIND GIVE IT ALL TO HIM, AND MEET HIM AT THE FINISH LINE
ME AND MY BOO, AND MY BOO, BOO, RIDIN’ ALL UP IN THE BLACK WITH HIS CHICK RIGHT BESIDE HIM LADIES IF YOU LOVE YOUR MAN, SHOW HIM YOU’RE THE FLYEST GRIND UP ON IT GIRL, SHOW HIM HOW YOU RIDE IT (2X)
OHHH KILLING ME SOFTLY AND I’M STILL FALLIN’ STILL THE ONE I NEED I WILL ALWAYS BE WITH YOU
WHOA YOU GOT ME ALL GONE DON’T EVER LET ME GO SAY IT REAL LOUD IF YOU FLY IF YOU EVER LEAVE ME YOU’RE OUTTA YOUR MIND
MY BABY IS A TEN WE DRESSIN’ TO THE NINE HE PICK ME UP WE EIGHT HE MAKE ME FEEL SO LUCKY SEVEN HE KISS ME IN HIS SIX WE BE MAKIN’ LOVE IN FIVE STILL THE ONE I DO THIS FOUR I’M TRYING TO MAKE US THREE FROM THA TWO HE’S STILL THE ONE
YEP I PUT IT ON ’EM, IT AIN’T NOTHING THAT I CAN’T DO YEP I BUY MY OWN, IF HE DESERVE IT BUY HIS SHIT TOO ALL UP IN THE STORE SHAWTY TRICKIN’ IF I WANT TO ALL UP IN THE STORE SHAWTY FLY AS WE WANT TO OOOO, DAMN I THINK I LOVE THAT BOY, DO ANYTHING FOR THAT BOY OOOO, NOW I’LL NEVER BE THE SAME, IT’S YOU AND ME UNTIL THE END
ME AND MY BOO, AND MY BOO, BOO, RIDIN’ ALL UP IN THE BLACK WITH HIS CHICK RIGHT BESIDE HIM LADIES IF YOU LOVE YOUR MAN SHOW HIM YOU’RE THE FLYEST GRIND UP ON IT GIRL, SHOW HIM HOW YOU RIDE IT ME AND MY BOO, AND MY BOO LIP LOCKIN’ ALL UP IN THE BACK ’CAUSE THE CHICKS KEEP BLOCKIN’ ALL THAT GOSSIP BEEN TEN YEARS STOP IT LONDON SPEED IT UP, HOUSTON ROCK IT
OHHH KILLING ME SOFTLY AND I’M STILL FALLIN’ STILL THE ONE I NEED I WILL ALWAYS BE WITH YOU
WHOA YOU GOT ME ALL GONE DON’T EVER LET ME GO SAY IT REAL LOUD IF YOU FLY IF YOU EVER LEAVE ME YOU’RE OUTTA YOUR MIND
MY BABY IS A TEN WE DRESSIN’ TO THE NINE HE PICK ME UP WE EIGHT HE MAKE ME FEEL SO LUCKY SEVEN HE KISS ME IN HIS SIX WE BE MAKIN’ LOVE IN FIVE STILL THE ONE I DO THIS FOUR I’M TRYING TO MAKE US THREE FROM THA TWO HE’S STILL THE ONE
I Miss You
I THOUGHT THAT THINGS LIKE THIS GET BETTER WITH TIME BUT I STILL NEED YOU, WHY IS THAT YOU’RE THE ONLY IMAGE IN MY MIND SO I STILL SEE YOU, AROUND
I MISS YOU, LIKE EVERYDAY WANNA BE WITH YOU, BUT YOU’RE AWAY SAID I MISS YOU, MISSING YOU INSANE BUT IF I GOT WITH YOU, COULD IT FEEL THE SAME
THE WORDS DON’T EVER SEEM TO COME OUT RIGHT BUT I STILL MEAN ’EM, WHY IS THAT IT HURTS MY PRIDE TO TELL YOU HOW I FEEL BUT I STILL NEED TO, WHY IS THAT
I MISS YOU, LIKE EVERYDAY WANNA BE WITH YOU, BUT YOU’RE AWAY SAID I MISS YOU, MISSING YOU INSANE BUT IF I GOT WITH YOU, COULD IT FEEL THE SAME
IT DON’T MATTER WHO YOU ARE IT IS SO SIMPLE, A FEELING, BUT IT’S EVERYTHING NO MATTER WHO YOU LOVE IT IS SO SIMPLE, A FEELING, BUT IT’S EVERYTHING
I MISS YOU, LIKE EVERYDAY WANNA BE WITH YOU, BUT YOU’RE AWAY SAID I MISS YOU, MISSING YOU INSANE BUT IF I GOT WITH YOU, COULD IT FEEL THE SAME
IT DON’T MATTER WHO YOU ARE
IT IS SO SIMPLE, A FEELING, BUT IT’S EVERYTHING
NO MATTER WHO YOU LOVE
IT IS SO SIMPLE, A FEELING, BUT IT’S EVERYTHING
Dance For You
I JUST WANNA SHOW YOU HOW MUCH I APPRECIATE YOU (YES) WANNA SHOW YOU HOW MUCH I’M DEDICATED TO YOU (YES) WANNA SHOW YOU HOW MUCH I WILL FOREVER BE TRUE (YES) WANNA SHOW YOU HOW MUCH YOU GOT YOUR GIRL FEELING GOOD (OH YES)
WANNA SHOW YOU HOW MUCH, HOW MUCH YOU’RE UNDERSTOOD (OH YES) WANNA SHOW YOU HOW MUCH I VALUE WHAT YOU SAY NOT ONLY ARE YOU LOYAL, YOU’RE PATIENT WITH ME BABE (OH YES) I WANNA SHOW YOU HOW MUCH I REALLY CARE ABOUT YOUR HEART I WANNA SHOW YOU HOW MUCH I HATE BEING APART (OH YES) SHOW YA, SHOW YA, SHOW YA TILL YOU’RE THROUGH WITH ME I WANNA KEEP IT HOW IT IS, SO YOU COULD NEVER SAY HOW IT USED TO BE
LOVING YOU, IS REALLY ALL THAT’S ON MY MIND AND I CAN’T HELP BUT TO THINK ABOUT IT DAY AND NIGHT I WANNA MAKE THAT BODY ROCK, SIT BACK AND WATCH
TONIGHT I’M GONNA DANCE FOR YOU (OHHH) TONIGHT I’M GONNA DANCE FOR YOU (OHHH) TONIGHT I’M GONNA PUT MY BODY ON YOUR BODY, BOY I LIKE IT WHEN YOU WATCH ME AH, TONIGHT IT’S GOIN’ DOWN
I’LL BE ROCKIN’ ON MY BABE, ROCKIN’, ROCKIN’ ON MY BABE SWIRLIN’ ON MY BABE, SWIRLIN’, SWIRLIN’ ON MY BABE BABY LET ME PUT MY BODY ON YOUR BODY, PROMISE NOT TO TELL NOBODY 'CAUSE IT’S BOUT TO GO DOWN
YOU’LL NEVER NEED TWO, ’CAUSE I WILL BE YOUR NUMBER ONE THEM OTHER CHICKS ARE SUPERFICIAL, GLAD I KNOW YOU KNOW I’M THE ONE THAT’S WHY I’M ALL INTO YOU, ’CAUSE I CAN RECOGNIZE THAT YOU KNOW THAT THAT’S WHY I’M BACKIN’ THIS THING BACK POP, POPPIN’ THIS THING BACK, DROP, DROP, DROPPING THIS THING BACK
THIS IS FOR THE TIME YOU GAVE ME FLOWERS, FOR THE WORLD THAT IS OURS FOR THE MOOLAH, FOR THE POWER OF LOVE AND NO I WON’T NEVER, EVER, EH, EVER GIVE YOU UP AND I WANNA SAY THANK YOU IN CASE I DON’T THANK YOU ENOUGH
A WOMAN IN THE STREET AND A FREAK IN THE YOU KNOW WHAT SIT BACK, SIT BACK IT’S THE PRE-GAME SHOW, DADDY YOU KNOW WHAT’S UP
LOVING YOU, IS REALLY ALL THAT’S ON MY MIND AND I CAN’T HELP BUT TO THINK ABOUT IT DAY AND NIGHT I WANNA MAKE THAT BODY ROCK, SIT BACK AND WATCH
TONIGHT I’M GONNA DANCE FOR YOU (OHHH) TONIGHT I’M GONNA DANCE FOR YOU (OHHH) TONIGHT I’M GONNA PUT MY BODY ON YOUR BODY, BOY I LIKE IT WHEN YOU WATCH ME AH, TONIGHT IT’S GOIN’ DOWN
I’LL BE ROCKIN’ ON MY BABE, ROCKIN’, ROCKIN’ ON MY BABE I’LL BE SWIRLIN’ ON MY BABE, SWIRLIN’, SWIRLIN’ ON YOU BABE BABY LET ME PUT MY BODY ON YOUR BODY, PROMISE NOT TO TELL NOBODY ’CAUSE IT’S ABOUT TO GO DOWN
I’M GONNA TAKE THIS TIME TO SHOW YOU HOW MUCH YOU MEAN TO ME ‘CAUSE YOU ARE ALL I NEED NO MONEY CAN EMPHASIZE OR DESCRIBE THE LOVE THAT’S IN BETWEEN THE LINES BOY LOOK INTO MY EYES
WHILE I’M GRINDING ON YOU, THIS IS BEYOND SEX, I’M HIGH ON YOU IF IT’S REAL THEN YOU KNOW HOW I FEEL ROCKIN’ ON YOU BABE, ROCKIN’, ROCKIN’ ON YOU BABE, SWIRLIN’ ON YOU BABE IN MY MIND ALL I CAN THINK ABOUT IS A FRAME FOR OUR FUTURE AND THE PICTURES OF THE PAST AND THE CHANCE TO MAKE THIS LOVE LAST, OHHH
TONIGHT I’M GONNA DANCE FOR YOU (OHHH) TONIGHT I’M GONNA DANCE FOR YOU (OHHH) TONIGHT I’M GONNA PUT MY BODY ON YOUR BODY, BOY I LIKE IT WHEN YOU WATCH ME AH, TONIGHT IT’S GOIN’ DOWN
I’LL BE ROCKIN’ ON MY BABE, ROCKIN’, ROCKIN’ ON MY BABE I’LL BE SWIRLIN’ ON MY BABE, SWIRLIN’, SWIRLIN’ ON YOU BABE I WANNA PUT MY BODY ON YOUR BODY, PROMISE NOT TO TELL NOBODY ’CAUSE IT’S ABOUT TO GO DOWN
WATCH ME POP IT, POP IT, POP, POP, POP, POP IT FOR YOU BABY DROP IT, DROP IT, DROP IT, DROP IT FOR YOU BABY WATCH IT, WATCH IT, WATCH IT, WATCH ME THROW IT BABY WANNA MAKE THAT BODY ROCK, SIT BACK AND WATCH
ME POP IT, POP IT, POP, POP, POP, POP IT FOR YOU BABY DROP IT, DROP IT, DROP IT, DROP IT FOR YOU BABY WATCH IT, WATCH IT, WATCH IT, WATCH ME THROW IT BABY WANNA MAKE THAT BODY ROCK, SIT BACK AND WATCH
(OHHH….
OHHH…..)
YES, YES, YES, OH YES, OH YES, YES, YES, OH YES
I Care
I TOLD YOU HOW YOU HURT ME BABY, BUT YOU DON’T CARE NOW I’M CRYING AND DESERTED BABY, BUT YOU DON’T CARE AIN’T NOBODY TELL ME THIS IS LOVE, WHEN YOU’RE IMMUNE TO ALL MY PAIN I NEED YOU TO TELL ME THIS IS LOVE, YOU DON’T CARE WELL THAT’S OK
WELL I CARE I KNOW YOU DON’T CARE TOO MUCH BUT I STILL CARE, LA, LA, LA… BABY, LA, LA, LA…
OH I CARE I KNOW YOU DON’T CARE TOO MUCH BUT I STILL CARE, LA, LA, BABY, LA, LA, LA… OHHH
EVER SINCE YOU KNEW YOUR POWER, YOU MADE ME CRY AND NOW EVERY TIME OUR LOVE GOES SOUR, YOU WON’T SYMPATHIZE YOU SEE THESE TEARS FALLING DOWN TO MY EARS, I SWEAR YOU LIKE WHEN I’M IN PAIN I TRY TO TELL YOU ALL MY FEARS, YOU STILL DON’T CARE, THAT’S OK
WELL I CARE I KNOW YOU DON’T CARE TOO MUCH BUT I STILL CARE, LA, LA, LA… BABY, LA, LA, LA…
OH I CARE I KNOW YOU DON’T CARE TOO MUCH BUT I STILL CARE, LA, LA, BABY, LA, LA, LA… OHHH
BOY MAYBE IF YOU CARED ENOUGH, I WOULDN’T HAVE TO CARE SO MUCH WHAT HAPPENED TO OUR TRUST, NOW YOU’RE JUST GIVIN’ UP YOU USED TO BE SO IN LOVE, NOW YOU DON’T CARE NO MORE
OOOOOOOOOOO…
WELL I CARE I KNOW YOU DON’T CARE TOO MUCH BUT I STILL CARE, LA, LA, LA… BABY, LA, LA, LA…
OH I CARE I KNOW YOU DON’T CARE TOO MUCH BUT I STILL CARE, LA, LA, BABY, LA, LA, LA… OHHH
I STILL CARE (LA, LA, LA….
)
I STILL CARE (LA, LA, LA….)
I STILL CARE (LA, LA, LA….)
Rather Die Young
BOY YOU’LL BE THE DEATH OF ME YOU’RE MY JAMES DEAN YOU MAKE ME FEEL LIKE I’M 17 YOU DRIVE TOO FAST YOU SMOKE TOO MUCH BUT THAT DON’T MEAN A THING CAUSE I’M ADDICTED TO THE RUSH
’CAUSE I’D RATHER DIE YOUNG THAN LIVE MY LIFE WITHOUT YOU I’D RATHER NOT LIVE AT ALL THAN LIVE MY LIFE WITHOUT YOU (2X)
YOU KNOW I’VE BEEN IN LOVE BEFORE YOU’RE THE FIRST ONE I EVER SEEN THAT BURNS LIKE GASOLINE SO LIGHT A MATCH, TURN OFF THE LIGHTS I’M HOLDING ONTO YOU, ’CAUSE THIS MIGHT BE OUR LAST NIGHT
’CAUSE I’D RATHER DIE YOUNG THAN LIVE MY LIFE WITHOUT YOU I’D RATHER NOT LIVE AT ALL THAN LIVE MY LIFE WITHOUT YOU (2X)
WHAT I’M TELLING YOU I’M GIVING YOU MY LIFE, IT’S IN YOUR HANDS AND WHAT I’M GONNA DO IS BE A WOMAN AND YOU CAN BE A MAN AND I WANNA SAY NOBODY UNDERSTANDS WHAT WE’VE BEEN THROUGH I’D RATHER GIVE UP EVERYTHING THAN TO LIVE MY, LIVE MY LIFE WITHOUT YOU, OHHH, OHHH
’CAUSE I’D RATHER DIE YOUNG
THAN LIVE MY LIFE WITHOUT YOU
I’D RATHER NOT LIVE AT ALL
THAN LIVE MY LIFE WITHOUT YOU
(2X)
1+1
IF I AIN’T GOT NOTHING, I GOT YOU IF I AIN’T GOT SOMETHING I DON’T GIVE A DAMN, ’CAUSE I GOT IT WITH YOU I DON’T KNOW MUCH ABOUT ALGEBRA, BUT I KNOW ONE PLUS ONE EQUALS TWO AND IT’S ME AND YOU, THAT’S ALL WE'LL HAVE WHEN THE WORLD IS THROUGH
’CAUSE BABY WE AIN’T GOT NOTHING WITHOUT LOVE DARLING YOU GOT ENOUGH FOR THE BOTH OF US SO COME ON BABY MAKE LOVE TO ME WHEN MY DAYS LOOK LOW, PULL ME IN CLOSE AND DON’T LET ME GO MAKE LOVE TO ME SO WHEN THE WORLD’S AT WAR, LET OUR LOVE HEAL US ALL RIGHT NOW BABY MAKE LOVE TO ME, ME, ME, ME, ME OHHHH OHHH, MAKE LOVE TO ME
HEY, I DON'T KNOW MUCH ABOUT GUNS BUT I, I’VE BEEN SHOT BY YOU HEY, AND I DON'T KNOW WHEN I’M GON’ DIE, BUT I HOPE THAT I’M GON’ DIE BY YOU HEY, AND I DON’T KNOW MUCH ABOUT FIGHTING BUT I, I KNOW I WILL FIGHT FOR YOU HEY, AND JUST WHEN I BALL UP MY FIST I REALIZE THAT I’M LAYING RIGHT NEXT TO YOU
BABY WE AIN’T GOT NOTHING BUT LOVE
AND DARLING YOU GOT ENOUGH FOR THE BOTH OF US
OHHHH MAKE LOVE TO ME
WHEN MY DAYS LOOK LOW, PULL ME IN CLOSE AND DON’T LET ME GO
MAKE LOVE TO ME
SO WHEN THE WORLD’S AT WAR, LET OUR LOVE HEAL US ALL
HELP ME LET DOWN MY GUARD
MAKE LOVE TO ME, ME, ME, ME, ME
OHHH OHHH, MAKE LOVE TO ME, ME, ME, ME
End of Time
COME TAKE MY HAND, I WON’T LET YOU GO I’LL BE YOUR FRIEND, I WILL LOVE YOU SO DEEPLY I WILL BE THE ONE TO KISS YOU AT NIGHT I WILL LOVE YOU UNTIL THE END OF TIME
I’LL BE YOUR BABY, I PROMISE NOT TO LET YOU GO LOVE YOU LIKE CRAZY, NOW SAY YOU’LL NEVER LET ME GO SAY YOU’LL NEVER LET ME GO, SAY, SAY YOU’LL NEVER LET ME GO SAY YOU’LL NEVER LET ME GO, SAY, SAY YOU’LL NEVER LET ME GO
TAKE YOU AWAY FROM HERE THERE’S NOTHING BETWEEN US, BUT SPACE AND TIME I’LL BE YOUR OWN LITTLE STAR, LET ME SHINE IN YOUR WORLD I’LL BE YOUR OWN LITTLE UNIVERSE, MAKE ME YOUR GIRL
COME TAKE MY TAKE MY HAND, I WON’T LET YOU GO I’LL BE YOUR FRIEND, I WILL LOVE YOU SO DEEPLY I WILL BE THE ONE TO KISS YOU AT NIGHT I WILL LOVE YOU UNTIL THE END OF TIME
I’LL BE YOUR BABY, I PROMISE NOT TO LET YOU GO LOVE YOU LIKE CRAZY, NOW SAY YOU’LL NEVER LET ME GO SAY YOU’LL NEVER LET ME GO, SAY, SAY YOU’LL NEVER LET ME GO SAY YOU’LL NEVER LET ME GO, SAY, SAY YOU’LL NEVER LET ME GO
BABY COME ON GET UP ON IT, SHOW ME THAT YOU REALLY WANT IT I WANNA BE THE ONE TO LOVE YOU BABY LET’S GO, LET’S GO I WANNA PROVIDE THIS LOVIN’ THAT YOUR GIVIN’, I AIN’T FRONTIN’ IN THIS LOVE OH CAN YOU LET ME LOVE YOU FROM YOUR HEAD TO TOE, BABY LET’S GO
BOY COME TO ME (COME TO ME) LET ME TURN YOUR RAIN INTO SUN (COME TO ME BABY) YOU DON’T HAVE TO WORRY BABY (OH NO) I PROMISE I’LL SET YOUR HEART FREE LET MY LOVE INTO YOUR SOUL, YOU GO, I GO, WE GO, THAT’S ALL SHE WROTE
SAY, SAY YOU’LL NEV, NEVER….
.
CAN’T YOU SEE
I JUST WANNA LOVE YOU
CAN’T YOU FEEL ME BABE
I JUST WANNA BE WITH YOU
I JUST WANT LIVE FOR YOU
I’LL NEVER LET YOU GO
BRING YOUR LOVE TO ME
COME TAKE MY TAKE MY HAND, I WON’T LET YOU GO I’LL BE YOUR FRIEND, I WILL LOVE YOU SO DEEPLY I WILL BE THE ONE TO KISS YOU AT NIGHT I WILL LOVE YOU UNTIL THE END OF TIME
I’LL BE YOUR BABY, I PROMISE NOT TO LET YOU GO
LOVE YOU LIKE CRAZY, NOW SAY YOU’LL NEVER LET ME GO
SAY YOU’LL NEVER LET ME GO, SAY, SAY YOU’LL NEVER LET ME GO
SAY YOU’LL NEVER LET ME GO, SAY, SAY YOU’LL NEVER LET ME GO
Run The World (Girls)
GIRLS, WE RUN THIS MUTHA, YEAH (X3) GIRLS, WE RUN THIS MUTHA, GIRLS WHO RUN THE WORLD, GIRLS, (X4) WHO RUN THIS MUTHA, GIRLS, (X4) WHO RUN THE WORLD, GIRLS (X4)
SOME OF THEM MEN THINK THEY FREAK THIS LIKE WE DO BUT NO THEY DON’T MAKE YO CHECK COME AT THEY NECK, DISRESPECT US NO THEY WON’T BOY DON’T EVEN TRY TO TOUCH THIS, BOY THIS BEAT IS CRAZY THIS IS HOW THEY MADE ME, HOUSTON TEXAS BABY
THIS GOES OUT TO ALL MY GIRLS THAT’S IN THE CLUB ROCKIN’ THE LATEST WHO WILL BUY IT FOR THEMSELVES AND GET MORE MONEY LATER
I THINK I NEED A BARBER, NONE OF THESE CAN FADE ME I’M SO GOOD WITH THIS, I REMIND YOU I'M SO HOOD WITH THIS
BOY I’M JUST PLAYIN’ COME HERE BABY HOPE YOU STILL LIKE ME F U PAY ME
MY PERSUASION CAN BUILD A NATION ENDLESS POWER WITH OUR LOVE WE CAN DEVOUR YOU'LL DO ANYTHING FOR ME
WHO RUN THE WORLD, GIRLS (X5) WHO RUN THIS MUTHA, GIRLS (X4) WHO RUN THE WORLD, GIRLS (X4)
IT'S HOT UP IN HERE DJ DON’T BE SCARED TO RUN THIS RUN THIS BACK I'M REPPIN’ FOR THE GIRLS WHO TAKIN’ OVER THE WORLD HELP ME RAISE A GLASS FOR THE COLLEGE GRADS
41 ROLLIN’ TO LET YOU KNOW WHAT TIME IT IS, CHECK YOU CAN’T HOLD ME I WORK MY 9 TO 5 BETTA CUT MY CHECK
THIS GOES OUT TO ALL THE WOMEN GETTIN’ IT IN YOU ON YO GRIND TO ALL THE MEN THAT RESPECT WHAT I DO PLEASE ACCEPT MY SHINE
BOY YOU KNOW YOU LOVE IT HOW WE SMART ENOUGH TO MAKE THESE MILLIONS, STRONG ENOUGH TO BARE THE CHILDREN, THEN GET BACK TO BUSINESS
SEE, YOU BETTER NOT PLAY ME OH COME HERE BABY HOPE YOU STILL LIKE ME F U PAY ME
MY PERSUASION CAN BUILD A NATION EN DLESS POWER WITH OUR LOVE WE CAN DEVOUR YOU'LL DO ANYTHING FOR ME
WHO RUN THE WORLD, GIRLS (X5) WHO RUN THIS MUTHA, GIRLS (X4) WHO RUN THE WORLD, GIRLS (X4)
WHO ARE WE, WHAT WE RUN, THE WORLD
WHO RUN THIS MUTHA, YEAH
WHO ARE WE, WHAT WE RUN, THE WORLD
WHO RUN THIS MUTHA, YEAH
WHO ARE WE, WHAT DO WE RUN, WE RUN THE WORLD
WHO RUN THIS MUTHA, YEAH
WHO ARE WE, WHAT WE RUN, WE RUN THE WORLD
WHO RUN THE WORLD.
...GIRLS
Best Thing I Never Had
WHAT GOES AROUND, COMES BACK AROUND, HEY, MY BABY WHAT GOES AROUND, COMES BACK AROUND, HEY, MY BABY, I SAY WHAT GOES AROUND, COMES BACK AROUND, HEY, MY BABY WHAT GOES AROUND, COMES BACK AROUND
THERE WAS A TIME I THOUGHT, THOUGHT YOU DID EVERYTHING RIGHT NO LIES, NO WRONG, BOY I, MUST HAVE BEEN OUTTA MY MIND SO WHEN I THINK OF THE TIME THAT I ALMOST LOVED YOU YOU SHOWED YOUR ASS AND I, I SAW THE REAL YOU THANK GOD YOU BLEW IT, THANK GOD I DODGED A BULLET I’M SO OVER YOU, SO BABY GOOD LOOKIN’ OUT
I WANTED YOU BAD, I’M SO THROUGH WITH THAT ’CAUSE HONESTLY YOU TURNED OUT TO BE THE BEST THING I NEVER HAD YOU TURNED OUT TO BE THE BEST THING I NEVER HAD AND I’M GON’ ALWAYS BE THE BEST THING YOU NEVER HAD OH YEAH, I BET IT SUCKS TO BE YOU RIGHT NOW
SO SAD, YOU’RE HURT, BOO HOO, OH DID YOU EXPECT ME TO CARE YOU DON’T DESERVE MY TEARS, I GUESS THAT’S WHY THEY AIN’T THERE WHEN I THINK THAT THERE WAS A TIME THAT I ALMOST LOVED YOU YOU SHOWED YOUR ASS AND BABY YES I SAW THE REAL YOU THANK GOD YOU BLEW IT, THANK GOD I DODGED A BULLET I’M SO OVER YOU, BABY GOOD LOOKIN’ OUT
I WANTED YOU BAD, I’M SO THROUGH WITH THAT ’CAUSE HONESTLY YOU TURNED OUT TO BE THE BEST THING I NEVER HAD I SAID YOU TURNED OUT TO BE THE BEST THING I NEVER HAD AND I’LL NEVER BE THE BEST THING YOU NEVER HAD OH BABY I BET IT SUCKS TO BE YOU RIGHT NOW
I KNOW YOU WANT ME BACK IT’S TIME TO FACE THE FACTS THAT I’M THE ONE THAT GOT AWAY LORD KNOWS THAT IT WILL TAKE ANOTHER PLACE, ANOTHER TIME, ANOTHER WORLD, ANOTHER LIFE THANK GOD I FOUND THE GOOD IN GOODBYE
I USED TO WANT YOU SO BAD, I’M SO THROUGH WITH THAT ’CAUSE HONESTLY YOU TURNED OUT TO BE THE BEST THING I NEVER HAD OH YOU TURNED OUT TO BE THE BEST THING I NEVER HAD AND I WILL ALWAYS BE THE BEST THING YOU NEVER HAD OOOH BEST THING YOU NEVER HAD
I USED TO WANT YOU SO BAD, I’M SO THROUGH WITH THAT ’CAUSE HONESTLY YOU TURNED OUT TO BE THE BEST THING I NEVER HAD OH YOU TURNED OUT TO BE THE BEST THING I NEVER HAD OOOH I WILL NEVER BE THE BEST THING YOU NEVER HAD OH BABY, I BET IT SUCKS TO BE YOU RIGHT NOW
WHAT GOES AROUND, COMES BACK AROUND WHAT GOES AROUND, COMES BACK AROUND BET IT SUCKS TO BE YOU RIGHT NOW WHAT GOES AROUND, COMES BACK AROUND I BET IT SUCKS TO BE YOU RIGHT NOW WHAT GOES AROUND, COMES BACK AROUND I BET IT SUCKS TO BE YOU RIGHT NOW
Start Over
I FEEL WEAK WE’VE BEEN HERE BEFORE ’CAUSE I FEEL WE KEEP GOIN’ BACK AND FORTH MAYBE IT’S OVER, MAYBE WE’RE THROUGH BUT I HONESTLY CAN SAY I STILL LOVE YOU
MAYBE WE’VE REACHED THE MOUNTAIN PEAK AND THERE’S NO MORE LEFT TO CLIMB AND MAYBE WE LOST THE MAGIC PIECE AND WE’RE BOTH TOO BLIND TO FIND
LET’S START OVER LET’S GIVE LOVE THEIR WINGS LET’S START OVER STOP FIGHTING ’BOUT THE SAME OLD THING
LET’S START OVER WE CAN’T LET OUR GOOD LOVE DIE MAYBE WE CAN START ALL OVER GIVE LOVE ANOTHER LIFE
I CAN SEE THAT WE’RE NOT HAPPY HERE SO WHY WOULD WE KEEP PRETENDING WHEN THERE’S NOTHING THERE MAYBE YOU LIKE IT, WELL I DON’T AND MAYBE YOU’LL SETTLE, WELL I WON’T
MAYBE WE’VE REACHED THE MOUNTAIN PEAK AND THERE’S NO MORE LEFT TO CLIMB AND MAYBE WE LOST THE MAGIC PIECE AND WE’RE BOTH TOO BLIND TO FIND
LET’S START OVER LET’S GIVE LOVE THEIR WINGS LET’S START OVER STOP FIGHTING ’BOUT THE SAME OLD THING
LET’S START OVER WE CAN’T LET OUR GOOD LOVE DIE MAYBE WE CAN START ALL OVER AND GIVE LOVE ANOTHER LIFE
I KNOW THAT THIS WILL HURT YOU, I KNOW YOU’LL CRY I KNOW I CALLED YOU SELFISH, BUT THAT’S A LIE I FEEL I KNOW WHAT’S BEST FOR US LET’S
START OVER AND LET’S GIVE LOVE THEIR WINGS LET’S START OVER I’M TIRED OF FIGHTING ’BOUT THE SAME OLD THING
LET’S START OVER
WE BOTH KNOW THAT THIS LOVE WON’T DIE
MAYBE WE CAN START ALL OVER
AND GIVE LOVE ANOTHER LIFE
I Was Here
I WANNA LEAVE MY FOOTPRINTS ON THE SANDS OF TIME KNOW THERE WAS SOMETHIN’ THAT, SOMETHIN’ THAT I LEFT BEHIND WHEN I LEAVE THIS WORLD, I’LL LEAVE NO REGRETS LEAVE SOMETHIN’ TO REMEMBER, SO THEY WON’T FORGET
I WAS HERE, I LIVED, I LOVED I WAS HERE, I DID, I’VE DONE EVERYTHING THAT I’VE WANTED AND IT WAS MORE THAN I THOUGHT IT WOULD BE I WILL LEAVE MY MARK SO EVERYONE WILL KNOW I WAS HERE
I WANNA SAY I LIVED EACH DAY UNTIL I DIE AND KNOW THAT I MEANT SOMETHIN’ IN SOMEBODY’S LIFE THE HEARTS I HAVE TOUCHED, WILL BE THE PROOF THAT I LEAVE THAT I MADE A DIFFERENCE AND THIS WORLD WILL SEE
I WAS HERE, I LIVED, I LOVED I WAS HERE, I DID, I’VE DONE EVERYTHING THAT I’VE WANTED AND IT WAS MORE THAN I THOUGHT IT WOULD BE I WILL LEAVE MY MARK SO EVERYONE WILL KNOW I WAS HERE, I LIVED, I LOVED I WAS HERE, I DID, I’VE DONE EVERYTHING THAT I’VE WANTED AND IT WAS MORE THAN I THOUGHT IT WOULD BE I WILL LEAVE MY MARK SO EVERYONE WILL KNOW I WAS HERE
I JUST WANT THEM TO KNOW, THAT I GAVE MY ALL, DID MY BEST BROUGHT SOMEONE SOME HAPPINESS LEFT THIS WORLD A LITTLE BETTER JUST BECAUSE I WAS HERE
I WAS HERE, I LIVED, I LOVED
I WAS HERE, I DID, I’VE DONE
EVERYTHING THAT I’VE WANTED AND IT WAS MORE THAN I THOUGHT IT WOULD BE
I WANNA LEAVE MY MARK SO EVERYONE WILL KNOW
I WAS HERE, I LIVED, (I LIVED), I LOVED
I WAS HERE, I DID, (I DID), I’VE DONE
I WAS HERE, I LIVED, (I LIVED), I LOVED (I LOVED)
I WAS HERE, I DID, I’VE DONE, I WAS HERE
The Song of My People!
92
- 559,733
- 9
- 110
- Meme
- Status
- Confirmed
- Year
- 1913
- Origin
- Unknown
- Tags
- macro, phrase, song, call, people, sing, reverse caption, the song of my people, the dance of my people
About
"The Song of My People" is a catchphrase typically associated image macros and animated GIFs in which the subject is singing, shouting or playing a musical instrument.
Origin
On July 11th, 2007, a photograph of a loin-clothed street musician playing the violin was submitted to 4chan with the caption reading “I shall sing you the song of my people."
Precursors
The phrase "I should like to teach you the dance of my people" was featured in a collection of East African fairy tales published in 1913.[11] In the story "The Warrior and the Irimo," a warrior is captured by an enemy tribe and offers to dance for them:
While the fire was being made the warrior said, "I am tired of life as all my companions have been killed, so am quite willing to die. Before you kill me, however, I should like to teach you the dance of my people." The Irimo were very pleased, as they were fond of learning new dances, and agreed that he should dance to them.
One of the earliest instances of the phrase “the song of my people” was featured in the 1977 British comedy film Carry on at Your Convenience,[7] according to a post on the Q&A website ChaCha[6] on December 6th, 2010.
Spread
On July 3rd, 2008, Flickr[1] user beerorkid uploaded an image macro of a man in his underwear playing a flute, with the caption reading “I shall play you the song of my people” (shown below, left). On January 18th, 2009, Yahoo Answers[12] user hyungiskim submitted a request in search of an image macro with the description fitting Flickr user beerorkid's image. During the 2010 World Cup tournament in South Africa, the expression became widely used to caption photographs of local spectators and supporters using loud traditional stadium horns called "vuvuzelas" (shown below, right).
On November 15th, 2011, FunnyJunk[13] user tonlynx uploaded a photoshopped GIF of a spider playing the bongos with the caption “I shall play you / the song of my people” (shown below, left ). On June 1st, 2012, a compilation of “songs of my people” image macros was featured on the viral content site BuzzFeed.[14] On July 25th, the Cheezburger site Memebase[15] posted an animated GIF titled "Let Me Play You The Song of my People," which featured dancing characters from the animated television show King of the Hill (shown below, right)
Notable Examples
Additional examples can be found on Tumblr under the tag "the song of my people.
"[2]
Derivative: The Dance of My People
"The dance of my people" is a variation of the phrase used to caption image macros in which the subject is posing or flailing in an awkward manner.
Search Interest
External References
[1] Flickr – I-shall-play-you-the-song-of-my-people
[2] Tumblr – The song of my people
[3] LOL.com – The song of my people
[4] Mononail – The song of my people
[5] Icanhascheezburger – The song of my people
[6] ChaCha – Where did the quote 'Let me play for you the song of my people' come from?
[7] Internet Movie Database – Carry on at Your Convenience
[8] Early example – The Chocolate Rain thread.
[9] Scribd – The 1913 document.
[10] PDF via JSTOR – The 1913 document (Requires password)
[11] Archive.
org – Man
[12] Yahoo – Does anyone know the
[13] FunnyJunk – The song of my people
[14] BuzzFeed – 10 Most Annoying Songs of My People
[15] Cheezburger – Let Me Play You The Song of my People
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Extracts from the book "Rules of social life"
Source: Rules of social life and etiquette. Good tone.Collection of advice and instructions. Comp. Yuriev and Vladimirsky 1896.
The difference between a ball and an evening.In many houses, besides dancing parties, they sometimes also give balls. We have said before that there is quite a difference between a ball and a dance evening. A dance evening does not require special sophistication in costumes and is not as crowded as a ball. In addition, it should be noted that a ball is unthinkable in a small ordinary apartment - for a ball, first of all, a decent-sized hall is needed and then a number of rooms in which a ladies' dressing room, a smoking room, a buffet, etc., could be arranged. At the ball they do not dance to the piano, but certainly to the orchestra. Dessert and dinner should also be luxurious. In general, a ball requires incomparably more trouble and material costs than a dance evening. Balls do not start before half past ten or ten o'clock.
How to dress for a ball. Ball invitations are sent out at least ten days before the ball; this period at the height of the season sometimes lasts up to three weeks and even a month. The invitation must be accepted or refused in the first two. days upon receipt. You must appear at the ball only elegantly dressed; especially the toilet of ladies and girls should be distinguished by its sophistication. By the word "exquisite" we mean a toilet that is in the highest degree in line with fashion, perfectly suited to the face and certainly brand new. Men come to the ball in a black tailcoat pair; the waistcoat, however, must be white at the ball, while the black stiletto is worn at the dance evening. The tie must also be black. Gloves are certainly white - kid. Ladies and maidens comb their hair gracefully and pin flowers to their hair; holding a bouquet in their hands. Some young ladies can wear delicate colors. It should be noted that too bright colors mean bad taste. At the ball, more than ever, you need to suppress your vainglorious desire - to be the most beautiful of all. A man, before entering the hall, must fasten his gloves and diligently straighten his hair and tie. You must enter the hall with an even step, slowly and holding a hat in your left hand. When passing by a mirror, do not look into it. Do not take off your gloves during the whole ball, even if your gloves burst; in view of foresight, going to a ball, it is not bad to put a spare pair of gloves in your pocket. Gloves must be removed for dinner and cards. A young woman should not come to a ball without her husband, nor in his absence without a friend and the husband of this friend. A young girl must come to the ball accompanied by her mother or some other respectable lady, who serves as her guide on the secular path. Although a young lady may well appear in society with her father, it is still much better if she is under the guidance of a lady who relentlessly accompanies her every time she appears in the world. It is indecent to appear at a ball wearing deep mourning, but it is permissible to be in society wearing mourning after a cousin, in half mourning after an uncle, and at the end of a deeper mourning. To take off mourning in order to appear at the ball, and the next day to put on mourning again would be extremely reprehensible.
Dance invitations.The cavalier, inviting the lady to dance, approaches her and, bowing gracefully to her, makes an invitation in the most polite and delicate form, in the form of a compliment, for example: - "Let me know which quadrille I can hope to have the honor of dancing with you"; or: "let me have the honor (pleasure) of inviting you to the first quadrille (or mazurka, polka, etc.)"; or "can I hope that you will deign me to dance a mazurka (gallop, waltz, etc.) with you." If the invitee is well known to you, then simply: "Do not deny me the pleasure of dancing with you." The lady appoints the quadrille that she has free, and writes it down in her little book. Such little books are called "agends "; it is in them that the names and queues of dances are recorded. No lady can refuse to dance with a man who invites her, unless she has already promised to dance the dance he invites her to with another man. It usually happens that ladies who have many admirers are invited from the very beginning of the ball to all the dances; in a few minutes their memory book is filled with a mass of promises, in precisely such cases one should never make more promises than can be kept. Mothers should see to this, and young ladies should consult their mothers and leaders about this. To make promises to gentlemen more than necessary or to confuse them, that is, to make a promise to two gentlemen for the same dance, means to run the risk of becoming the heroine of a scandal, since gentlemen offended by such negligence can start a quarrel between themselves, ending sometimes very deplorable; besides, such an act as two promises for one dance is always explained in society only by coquetry, and this quality is in no way characteristic of a modest and well-bred girl; therefore, to publicly display such a negative quality is to put one's reputation at stake. If the girl, without any ill intent, but simply lost her way and assigned the same dance to two gentlemen, then in order to avoid unpleasant consequences, she should not dance this dance at all, having dissuaded both gentlemen with a desire to relax, ill health, etc. It is very indelicate to show your agend, inscribed with the names of the gentlemen who invited you to the dance, to those ladies or girls who have received few invitations or who are of an age that makes them involuntarily not participate in the dances. The favor of fate, which gives you the opportunity to outshine unwitting rivals, requires grateful modesty, and a well-bred person will never allow herself to be guilty in this respect. For some young ladies, a ball is the cause of many bitter moments. Isn't it true torture for them to remain alone at a time when, at the first sounds of the orchestra, all the dancers cheerfully leave their places and rush along the slippery parquet of the hall to the beat of the music. This torment should be endured in cold blood, calmly and not let anyone notice their mental suffering. To eliminate such troubles is the duty of the mistress of the house and the happy dancers, who must secretly patronize the neglected ladies and send familiar dancers to them. It was said above that a lady or girl should not refuse a gentleman who invites her to dance and can only refuse when the dance to which he invites her has already been promised by her. She can declare to the gentleman who invites her that she is invited to the first, second and third quadrille, but no more, because she does not have to make promises in advance for further quadrilles; she must remember the order in which she accepted the invitations in order to eliminate the dispute between the dancers. She should also show no preference for one or the other of the gentlemen. Don't wait for a lady to invite the orchestra to play. If one lady refuses you, then you should turn to the one sitting next to her, but do not pass by her. If the mistress of the house dances, then even if she had nieces and cousins, you should still start your sentences with the mistress of the house, then continue to invite her relatives, and then your acquaintances. It is absurd to assume that a man is obliged to invite all the dancing ladies. First of all, the mistress of the house, her sisters and relatives, the ladies, regarding whom he has some obligations, the sisters of his friends and comrades - this is the order of invitations for a manly man who knows how to live in the world. One of the first efforts of dancers is to find a counterpart. Having enlisted a counterpart, he looks for his lady, bows to her and offers his hand if the place in the quadrille is removed from her.
During the dance.At a ball, one should not forget for a moment that the facial expression should be cheerful and amiable. A sad or angry face at a ball is the same as dancing at a wake. In general, at a ball one should behave modestly, dance gracefully and strictly observing decency; jumping, breaking and assuming cutesy poses would mean exposing yourself in the eyes of some as an object worthy of ridicule, and in the eyes of others - an object worthy of pity and contempt. The rules of secular etiquette do not allow ladies and girls to dance with unfamiliar gentlemen in society, and therefore, gentlemen should not engage unfamiliar ladies. For quadrille, waltz and polka, you can introduce the gentleman to the lady or to the girl during the ball or even before the start of the dance. As for the mazurka and cotillion, these dances are allowed only with that lady or girl whose house you visit as an acquaintance or if you often meet this girl or lady in other familiar houses. If a lady you know replies to your invitation to dance such and such a quadrille with her that she is engaged to this quadrille by another gentleman, then invite her to the next one, but if she has already been invited to this one, then again invite to the third, etc. . until she assigns you a quadrille, which she can dance with you. Not following this rule means offending the lady. When inviting yourself vis-à-vis, always keep in mind that the gentleman you invite would be pleasant to your lady, even if it were your rival. You can invite a brother or even a relative of your lady only with her consent. If you happen to invite a lady at the same time as another gentleman, do not start an argument, but let the lady make her own choice and, fully obeying her decision, bow out. Before the dance begins, do not leave the hall. If the mistress of the house asks you to dance with some lady not invited by anyone, obey with an air of pleasure. It is indecent to ask, under any pretext, a fan or flowers from the lady with whom you are dancing. During the dance, it is better to be completely silent than to speak vulgarities. Politeness and courtesy are the most necessary conditions during dancing. Never do risky pas, even at the end of the hall. It is indecent for a lady or girl to dance a lot with one and the same gentleman; however, it is possible to accept two or three invitations from the same gentleman, especially if this gentleman is one of your acquaintances and if the dances are different. In the same way, a man should not allow himself to dance several times in a row with the same lady and in no case should he allow himself familiarity with his lady, even if she was his own sister. A lady should not approach the buffet except on the arm of a gentleman who gives the order to give her what she wants. Walking with a gentleman around the hall, a lady can take his hand and walk with him by the arm; but at a ball it is not customary to walk arm in arm the way one goes to a walk, i.e., that the lady’s hand forms a ring around the man’s hand. Walking arm in arm with the gentleman through the dance hall, the lady should only lightly touch the sleeve of the gentleman with her fingers. At the end of the dance, the gentleman must bow to the lady and finally bring her to the place or offer to take her to the buffet. Having taken the lady to her place, the gentleman must take his leave and move away, but not stay to talk with her. In turn, the lady, taken by the gentleman to her place, must hold the gentleman to talk with her. If a lady, refusing to dance with you, immediately goes to dance with another, explain this by her forgetfulness or ignorance of the laws of etiquette, but do not start an argument. Courtesy to the owner and hostess requires that you in no way make your personal annoyances an occasion for troubles and quarrels in society. The girl, dancing, should not look too boldly into the eyes of her gentleman; if he speaks to her, she must answer him kindly and courteously, but she must dance modestly and simply. Your lady should be led to the quadrille by the arm, but not by the hand, and in the same way take her back at the end of the quadrille. Good manners require gloves to be worn at all times at the ball; gentlemen and especially ladies take everything in hand without taking off their gloves, however, if the object being served can stain the glove, then it is permissible to take it off. As it is considered indecent to speak incessantly over the ear of your lady, so it would certainly be awkward and impolite not to say a few words to her from time to time. Cavaliers of good manners never take off their gloves, do not allow themselves to shake hands with their lady, to press her to him during a gallop or waltz. Whoever stands in the dance, not knowing the figures, makes himself ridiculous and puts the invited lady in a difficult and unpleasant position. There is no need to know the pas, it is enough to be able to gracefully walk around the hall and lead the lady. Doing a pas in a quadrille is not only unnecessary, but even inappropriate. While dancing and walking in general, men should be especially careful about women's dresses. - If you happen to step on a lady's train, apologize without fail and, moreover, in the most delicate form. Remember that all the customs of public balls are inappropriate and indecent at a private ball. A decent woman always has the right to be offended if a gentleman in grand rond holds her hand behind his back or presses it to his chest. The cavalier must lead to supper the lady with whom he danced the last dance before supper, and after supper again take her to the ballroom. A few days after the ball, it is customary to pay a visit to the mistress of the house.
Advice to dance directors.First of all, you should know that the duties of the steward are not limited to the compilation of various figures and evolutions; he is also responsible for the fulfillment of many other conditions, which is the whole range of his exclusive activity. The main task of the manager is the ability to bring society together, to give it gaiety, animation and, considering the elements, the ability to entertain and ignite it. The manager must be close to the society he leads; must be able to recognize people, have the knack of how to proceed to a known subject; be able to notice in him that weak chord, touching which, you can lead him to a good, cheerful mood. This is the task, the solution of which lies with the responsibility of the manager. If he possesses the necessary skill and habit, then, of course, he will be useful to society. In the various figures of the cotillion and quadrille Monstre, there are also many accidents that not only cause commotion and confusion, but also cool the dancing society. As a result, the manager must have great resourcefulness, memory and ingenuity. Of course, no one will severely condemn him if he sometimes gets confused in the figure he has undertaken; but it is better to emerge victorious than vanquished, and give no cause for ridicule. The steward must be, if not a musician, then well acquainted with music and, although somewhat, know the French language, in which all dance terminology is conducted. Experiments to introduce Russian names and figures and evolutions into Russian society did not lead to the desired result. The Russian language is somehow inconvenient for replacing French dance terms and does not have the ability to accurately determine their meaning. For example, let's take a few terms: balancer - swing. It would be possible, perhaps, to replace this term with the word "meet", however, it is not entirely accurate; corbeille - for example, a basket; chaine chain, etc. At large, public balls, it is a great convenience to post the dance program in prominent places in order to avoid frequent inquiries about the sequence of dances. Meanwhile, this full house frees the manager from unnecessary negotiations with the bandmaster. The steward must know music and understand all the burdensomeness of prolonged playing, especially for wind instruments. Therefore, if an opportunity presents itself to conduct a ball where a military choir plays, then, entering into the position of musicians, it is necessary to try to make the dance as short as possible. A very important condition is an agreement with the bandmaster or conductor of the orchestra, so that between each figure he waits for the appointment of the manager and does not start the figure before the permission of the latter. It is also important for the steward that he should be as kind as possible to the bandmaster, pianist, and even to the musicians, taking into account that each of them considers himself an artist who, to a greater or lesser extent, has self-esteem. The first moments of the ball are usually somehow boring, lethargic, inanimate - and therefore it is recognized as the most convenient to start it with a light dance; in view of this, the balls mainly open with a waltz . In a few, exceptional cases, the ball opens on polonaise, what happens: a) at merchant weddings, where after the newlyweds go for a walk his father and mother of the newlywed, or vice versa; b) at silver weddings, when the first pair are silvered. c) The third case is children's balls, where, with the shyness and lack of communication inherent in children, it is most convenient for Polish people to start, because, firstly, this walk is understandable to them, and secondly, all of them, regardless of age, can participate in the general procession and, through a polonaise, enter the general group of dances. Having started the ball with a waltz, the steward should not get carried away with the dance, and after one or two rounds he stands in the middle of the hall and thus warns of possible collisions. In the polka, which is danced in different directions and in different directions, warning the couples against collisions is even more necessary. In cases of a fall of a couple, it is the duty of the steward to immediately help the fallen to rise and to beg, if possible, to continue the dance, since in this way the gentleman who has fallen or dropped the lady somewhat smoothes out his awkwardness, and the unpleasant impression made by his fall on society is forgotten sooner. It is the responsibility of the steward to restore the measure of the dance in cases where the dancers start at the wrong time; but such a restoration must be done with extreme caution, as if by the way, so as not to embarrass the dancers. The steward must be in good spirits, or at least appear to be, because he communicates that gaiety and life that sustain the dances. The variety and choice of figures must be very intelligent, and the skill of the manager is the first and main condition. Taking charge of a ball or a family dance evening, the gentleman must first of all pay attention to the number of dancers, the capacity of the hall where they dance. He arranges the dancing couples so that they can move freely; he must loudly call the beginning of each figure and by some sign warn the hurried. The steward is also obliged to have time to inform the dancers from which sides the gentlemen and ladies in a well-known figure begin, or from where the first couple begins. At weddings, each figure is started by a bride; in family circles - the mistress of the house, if she participates, or her daughter, etc. If, with a large gathering of the public, dancing couples are placed in several columns, then the steward must inform each column separately. Let us suppose that the cavalier steward has come to the ball with a large supply of old and new figures he has just invented and wants to share them with the participants. But is he able to achieve his goal - if, on the one hand, he must tell each figure, show, correct the mistakes he has encountered; and on the other hand, remember that the ball is not a lesson and he has no right to demand from the participants either particularly intense attention or student accuracy of performance. Consequently, the cavalier-manager must foresee all such inconveniences and therefore should not be given special trickery in reproducing the figures, but try to compose them in such a way that every word he says to the dancer is understandable to everyone and, as far as possible, accurately determines or expresses his desire. |
In short, Russian words, despite all the richness of our language, cannot give a complete concept and define exactly the very action caused by French terms; not to mention the fact that it is somehow hard to hear the cries of the steward: "ladies - back", "gentlemen - forward", etc. 
His carefree gaiety, graceful courtesy, wit infect society and give character to the whole ball. 
The steward chooses for himself the last place in the column, for the most part closer to the orchestra, because it is often necessary to talk with the bandmaster or with the pianist to speed up or slow down the pace, etc. The quadrille, as a dance, is excellently composed, and therefore there is no need to resort to various inserted evolutions, which, however, some stewards often do. 
It is not the pretentiousness of the manager's inventions that society needs, but the variety and usable arrangement of figures. An experienced manager without any preparation, coming to the ball, sees directly how he should get down to business. From the successive use of various figures in a quadrille, he draws up a plan for conducting a mazurka or cotillion. To determine, for example, the number of participating couples in the mazurka, which are placed arbitrarily, it is necessary to make a general circle and try to count the number of participating couples in order to more conveniently plan the conduct of the mazurka. In a quadrille, depending on the number of dancers, they should be placed in one, two or more columns; sometimes, with a small society, put in a square or a square. With this arrangement of pairs, the quadrille is danced alternately without stopping, first in the first two lines, then in the second, as directed by the steward. Quadrille-Monstre in a large society is positively inapplicable and is replaced by a simple mazurka.
Balls in the 19th century and ballroom etiquette
Balls in the 19th century
Balls in the 19th century were a favorite pastime of the public. Everyone gave balls - in proportion to their means and capabilities. The ball was a very expensive pleasure for the host. "I gave three balls every year and finally squandered" - says about Onegin's father. But I will not go into financial and economic details. It is more interesting to talk about what happened at the balls. Balls were given all year round, but the season began in late autumn - the time of the greatest concentration of representatives of high society in the urban environment - and continued throughout the winter period, with the exception of periods when it was necessary to fast. Often in one evening I had to attend two or three balls, which required considerable strength from the dancers, besides, many balls ended in the morning, and the next day it was necessary to give visits and prepare for the upcoming amusements.
Every ball starts with an invitation. “Sometimes he was still in bed, they carried Pushkin’s notes to him, somewhat inaccurately reflects the situation: invitations to the ball could not be sent on the day of the ball - the addressees had to receive them in three weeks, and make up an answer - whether they would or not. The invitations were very concise, for example: "Prince Potemkin asks to honor him, welcome to the masquerade, this February 8, 1779 at the Anichkov House at 6 o'clock." However, all the rest of the information was superfluous - everyone already knew the other ballroom conventions.0113
The routine of the ball was unshakable. Guests began to arrive after six or nine in the evening, some arrived at ten or midnight. After the arrival of the guests, whom the host was supposed to meet, the ball opened with a solemn polonaise, a dance-procession, in which all the guests were supposed to take part, even if they then sat all evening and all night at the card tables.
In the second half of the 19th century, the polonaise was sometimes performed at the end of the ball, then the dancing began with the waltz. Then waltzes, polkas, quadrilles, mazurkas alternated. “The mazurka was such a wonderful dance, especially because it brought out those qualities of men and women with which they most attracted each other. Each played his part: the lady rushed forward easily, and the very turn of her head, as she had to look at the gentleman over her raised shoulder, gave her a teasing aura of incomprehensibility, while the whole initiative of the dance remained in the hands of the gentleman. He rushed her forward, either clicking his spurs, or circling her, or falling on one knee and forcing her to dance around him, showing his dexterity and imagination, the ability to show himself and control her will. “The mazurka is the soul of the ball, the goal of lovers, the telegraph of rumors and gossip, almost the announcement of new weddings, the mazurka is two hours calculated by fate to their chosen ones as a pledge of the happiness of a lifetime” One of the final ball dances was the cotillion, "the longest for lovers, like the mazurka" Cotillion, an endless waltz with figures, lasted three hours or more .
.. " In the middle of the ball there was a dinner, to which each gentleman accompanied the lady. If the gentleman came to the ball without a lady, the hostess of the ball could ask him to escort the lady to the ball (for example, who arrived with a couple of relatives and was therefore not accompanied by a gentleman). When the couple sat down at the table, they took off their gloves and covered their knees with a napkin. Before getting up from the table, gloves were put on again, napkins were left on the backs of chairs. Then the dancing continued again. The ball usually ended with a many-hour cotillion, at the end of 19centuries, sometimes replaced by a strange dance called the square dance monster.
The ball was just beginning with the waltz, and other dances followed it, in particular, the Hungarian, Krakowiak, padepatiner, padespan, padekatre dances ... There was a certain dance order at the balls, and everyone knows what was behind the so-called small dances the first quadrille will go, then, following the schedule, the second, third.
After the fourth quadrille and small dances, as a rule, there was a mazurka. This is a special dance. He, like the quadrille, was scheduled for all the ladies in advance, and every gentleman, every lady knew when and with whom they were dancing. It should be noted that among all the dances, the mazurka and cotillion were the most "important" invitations to the ball, for the reason that after the mazurka the gentleman led the lady to the table for dinner, where they could chat, flirt and even confess their love. Everyone had dinner in the side parlors, at small tables. At each table, guests gathered in their own company. In addition, a buffet with various dishes, champagne and other hot and cold drinks was always open at the balls.
People came to the ball dressed smartly. Cavaliers - in a tailcoat, tuxedo or suit (depending on the decade), a white shirt and always white gloves. Moreover, in the manuals, the lady has the right to refuse a gentleman without gloves, and for a gentleman it is better to come to the ball in black gloves than without gloves at all.
A boutonniere was attached to the lapel of the tailcoat. The military came in uniforms. The costumes of gentlemen depended little on fashion and were recommended to be sewn in classical forms so that the robes would last longer. Cavaliers came to the ball in boots, and only the military could afford boots, but without spurs.
Ladies and girls dressed in the latest fashion dresses, each of which was created for 1-2 balls. Ladies could choose any color for the dress (if it was not specifically agreed), for girls dresses were sewn in white or pastel colors - blue, pink, ivory. Gloves were matched to the dress to match the dress or white (it was considered tasteless to wear rings over gloves). Ladies could decorate themselves with a headdress - for example, a beret. The girls were encouraged to have a modest hairstyle. In any case, the neck had to be exposed. Ladies' jewelry could be anything - the main thing is that they are chosen with taste. Girls should appear at balls with a minimum amount of jewelry - a pendant around the neck, a modest bracelet.
The cut of ball gowns depended on fashion, but one thing remained unchanged in it - open neck and shoulders. With such a cut of the dress, neither a lady nor a girl could appear in society without jewelry around the neck - a chain with a pendant, a necklace - something must be worn
In addition, in the 1820-1830s. it was indecent for a lady and a girl to appear in the world without a bouquet of flowers: they carried it in their hands, in their hair, attached to a dress at the waist or on their chest. A fan was an obligatory attribute. It could be left in the ballroom in its place, it was possible to hold it in the left hand (which lies on the partner’s shoulder) during the dance. Little things were put in a bag (reticule), which was also left in its place.
We usually came to the ball a little late. The host met the first guests, latecomers joined the dancers sometimes even without announcing the persons. At the ball, the ladies took small books with them to write down the sequence of dances; towards the end of the century, these books began to be given out at balls.
In addition to dancing and dinner at the balls, the guests entertained themselves with games: calm, such as cards, cheerful and moving, such as phantoms. They often parted in the morning: "Half-sleepy in bed from the ball, he rides: and restless Petersburg has already been awakened by a drum."
Within a month after the ball, the guests had to pay a courtesy call to the hosts.
General rules of conduct at the ball and ball etiquette
Invitations to the ball are sent at least 10 days before it starts.
At the height of the season, this period is extended to 3 weeks.
In the first 2 days after receiving the invitation, you should inform the organizers of the ball about your decision.
A ballroom toilet should be elegant and refined at the same time, meet the requirements of fashion and be specially tailored for the next ball.
The color of gems must match the color of the dress.
Pearls and diamonds or rubies and diamonds - for pink fabrics; pearls and diamonds or sapphires and diamonds - to blue fabrics.
Ladies were advised to keep a small bunch of flowers in their hands.
During the ball, neither the ladies nor the gentlemen took off their gloves, except for dinner and playing cards.
A young man, like a girl, accepting an invitation to a ball, at the same time undertakes to dance. In the event of a shortage of gentlemen or ladies, the obligation to dance falls on everyone. To show displeasure or to let it be noticed that you are dancing out of necessity is extremely indecent. On the contrary, he who wants to become the darling of society must indulge in pleasure with all his soul and dance with any partner.
Don't forget for a minute at the ball that the facial expression should be cheerful and kind. A sad or angry face at a ball is the same as dancing at a wake.
When arriving late to the ball, you must first greet the hosts, and only then start conversations with acquaintances (the latter can be greeted with a nod of the head).
You can invite to dances in advance (including at the ball).
However, it is courteous to come to the ball, promising in advance no more than three dances.0113
The head of the dance hall is the manager of the ball. He must be obeyed unquestioningly, not to argue with him and not to make scandals. The steward is responsible for the order in the hall.
Gentlemen must look after the ladies, bring them soft drinks and entertain them in every possible way. Conversations should take place quietly and not touch on complex or serious topics. Any form of humor should be avoided. Cavaliers who take pleasure in causing laughter in their address are to be pitied.
Disputes and disagreements between gentlemen must be settled outside the ballroom.
Ladies should not slander, on the contrary, they should behave pleasantly, nicely and kindly. In addition, ladies should avoid any manifestation of bad humor, which may cause disapproval. The main enemy of a lady at a ball is jealousy, which is always noticeable.
Ladies should move gently and silently both at home and in society, and leave the impression of the soft steps of a fairy.
Loud laughter, noisy quarrels, rude words, immodest glances, in general, everything that is at odds with the laws of beauty should be avoided with special care. The behavior of a lady in relation to a gentleman should always be measured and modest, but ladies should not refuse gentlemen who invited them to dance - a recognition worthy of any attention.
In general, at the ball one should behave modestly, dance gracefully and keep up appearances; jumping, breaking, taking cutesy poses would mean exposing yourself in the eyes of some as an object worthy of ridicule, and in the eyes of others - an object worthy of pity.
Invitation to dance (engagement)
The gentleman who invites the lady to the dance approaches her and, bowing gracefully, makes an invitation in the most polite and delicate form: "Let me have the pleasure of inviting you to [dance]" .
If the invitee is well known to you, then simply: "Do not deny me the pleasure of dancing with you." It is also possible to invite the lady you like by going up to her, bowing and giving your right hand (it is not necessary to say anything). The lady, accepting the invitation, gives the gentleman her left hand.
If the gentleman’s bow was taken personally by someone he did not want to invite, then a well-bred gentleman in no case shows his disappointment, but observes the rules of decency and blames himself, first of all, for the awkwardness, but rather gets out of the situation with humor.
It is indecent to invite a lady to whom you are not represented. To do this, it is best to either find a person who agrees to introduce you, or, as a last resort, introduce yourself.
At the masquerade ball, the mask has the right to invite strangers, the rest can invite only acquaintances.
If the lady is not alone, but in the company of a companion or friends, it is necessary, based on the general norms of behavior, to first apologize for the interrupted conversation, if necessary, ask the companion's consent, and then invite the lady to dance.
The cavalier was recommended to make an invitation in the form of a compliment: "You are so beautiful today that it is a pleasure to admire you. I hope you will give me the happiness of admiring you in a mazurka?"
It is strongly recommended that when you come to the evening with a lady, dance with her the allowed number of dances (usually - 3). The height of faux pas would be to dance all the time with others. Don't be surprised if by the end of the evening she prefers someone else to walk her home.
However, it is indecent to dance a lot with the same partner. With a partner who is not the bride/groom, you can dance no more than three dances per evening, and you cannot dance two dances in a row.
When a gentleman invites a lady, she bows her head as a sign of consent, saying: "with pleasure", "good", in case of disagreement, the lady is also allowed to remain silent and respond to the gentleman's invitation only with a gesture, or: "I'm sorry, I already promised", or: "I'm already dancing.
" But at the same time, the lady can offer the gentleman another dance of her choice or the gentleman's choice. It is unethical and stupid to insist on an invitation or find out the reasons for refusal. It would be wise to bow very politely and walk away without any comment, without expressing your displeasure.
You can decline a dance invitation if:
- the dance has already been promised;
- the lady has already danced three dances with this gentleman in the evening or the previous dance;
- the lady wants to skip the dance - not to dance, but to rest;
- inviting gentleman without gloves.
In any other case, the lady was obliged to accept the invitation. If she refused for no reason, she was not eligible to participate in this dance at all.
If a lady accidentally forgot that she gave her word, and while she is going to dance with another gentleman, the first one appears, then she should apologize.
To get out of this unpleasant situation, it is best to completely abandon the dance or invite the first gentleman to dance another dance with her.
But a gentleman to invite a lady and then forget about it is not only the most unforgivable impoliteness, but simply rudeness; in such a case, he quite rightly incurs the wrath of the lady invited by him and the whole society.
In a situation where your companion is invited to a dance by your acquaintance, it would be gallant to invite his lady so that she would not be left alone.
Finally, having invited the lady, gallantly escort her to your chosen place in the hall and bow slightly, as the music of many dances will not allow you to do so.
Rules of conduct during the dance
A lady must strictly observe that the gentleman is on her left side, both during dances and when walking with her through the hall. Neither ladies nor gentlemen take off their gloves during the ball, and even more so they don’t dance without gloves.
The lady puts her left hand slightly below the man's shoulder. Depending on the fashion, a fan and an elegant handkerchief are held in the same hand, or the handkerchief is hidden, and the fan is hung on a chain, cord or ribbon attached to the belt. The purpose of the fan is to inspire coolness; to hide behind them, so that it would be more convenient to talk and laugh with a gentleman, is indecent. Young, very lively ladies should also notice to themselves that it is not good to lose flowers from their hair or from a dress and pieces of the dress itself and its trimmings. This always indicates unrestrained, abrupt movements and a lack of accuracy and modesty.
During parade dances (polonaise, minuet) one should only stand behind already standing couples. This rule does not apply to the host of the ball. The optimal distance between pairs is at least a meter. If there is too much steam, it is worth standing aside, forming a different line. If the hall is free, the gentleman should lead the lady to the dance in front of him, but if it's crowded, go ahead himself so that the crampedness does not cause inconvenience to the chosen one.
Don't get too close to the dancers, avoid collisions. If a collision occurs, it is worth apologizing and paying attention. It is considered polite to bow to your partner before starting the dance. In general, the dance usually begins with a bow from the gentleman and a return curtsey from the lady.
In the dance, the gentleman leads the lady, and he must take all mistakes personally; if a couple accidentally hit another couple, then the gentleman apologizes, because he is the leader.
During the dance, the gentleman and the lady should not be too far apart, but they should not cling to each other. Dancing with a lady wearing a low-cut dress, the gentleman cannot afford to hold her by her bare shoulders or back.
The dancing cavalier never looks down at his feet, even to make sure that he is doing all the steps correctly. The cavalier should keep straight, with dignity.
A lady should also dance with her eyes up, only occasionally allowing herself to cast a short glance at the floor.
However, no one can forbid a dancing lady to shoot a glance at a gentleman who likes her!
As it is considered indecent to speak incessantly over the ear of your lady during the dance, it would certainly be impolite not to say a few words to her. The conversation between the lady and the gentleman should be extremely kind and pleasant. Talking banalities, discussing other guests of the ball is a bad form. If there is nothing to say during the dance, it is better to remain silent.
In a dance that has a strict sequence of figures, watch the previous couples, especially the first one, and do nothing before them.
During dances of free movement, for example, the Viennese waltz, do not rush to immediately pair up, first wait for the music and bow to it, since the music here allows this. While dancing, move along with everyone, try not to move, or move along the usual line of dance, in the outer circle. If you are dancing more or less on the spot, or if for some reason you get lost, then it is better to move to the center of the hall, but not outside, and even more so, do not stay on the dance line.
At the end of the dance, the gentleman bows to his lady and accompanies her to the place from where he invited her, or wherever the lady wishes, thanking her along the way for the honor she did by dancing with him in a pair.
All couples, apparently, perform the same movements, but an attentive observer can find in them a lot of features that serve as a true characterization not only of each individual couple, but also of the individual. According to the harmonic movements of a separate pair, which seems to be one, it is often possible to unmistakably conclude that there is sympathy between persons. Graceful, light, as if soaring movements of a young girl are always attractive; over the imperfections of the same movements, they always allow themselves to laugh, without at all taking into account that the cause is often a cavalier.
Indeed, the task of the latter in dancing is much harder and more important than the ladies. He must be able to dance so well as to be able to cover up his lady's little awkwardness.
